The English-only movement: A communication analysis of changing perceptions of language vitality

This paper reexamines the potential impact of the English-only movement on linguistic minorities and Anglos' perceptions of their own and minority groups' language vitality. Of particular interest is the Hispanic population-the fastest growing minority in the U.S. Communication scholars have paid only scant attention to the English-only movement and how it affects the social and communication climate for Latinos. However, literature reviews prepared for the American Psychological Association and for the Teachers of English to Speakers of Other Languages (in 1991 and 1995, respectively) concluded that English-only initiatives have negative consequences for limited-English proficiency groups. Revisiting this still-growing issue in the light of more recent studies across disciplines and media reports, we examine how Anglo support for English-only policies limits the use, promotion, and salience of minority languages like Spanish in institutional settings and in the linguistic landscape and suggest directions for future research.

Anxious futures: Magpie2 and 'new generationalism' in Australian youth-specific theatre

The field of contemporary youth-specific theatre in Australia is one of change and, in some cases, anxiety. While Drama Studies continue to grow in popularity in schools, previously conventional developmental paradigms have become less mandatory for theatre, for, by, and about young people outside the school context. Instead, 'new generation' approaches in youth-specific performance are placing greater value on young people's own preferences in cultural activity. Yet this development is being tempered and further complicated by a cultural 'generationalism', particularly in larger arts organization as the youth sector becomes a more integral part of marketing strategies for the future. The resulting ambiguity in the representation, value, and positioning of young people and youth-specific arts in Australia's theatre industry is considered by focusing on Magpie2, a former youth-specific company attached to the State Theatre Company of South Australia. Magpie2 ceased operation in 1998 after experimenting with a 'new generation' approach to theatre for young people in the State Theatre realm. Both the artistic policy of Magpie2 Director, Benedict Andrews, and the critical reception of his two productions in 1997, Future Tense and Features of Blown Youth, demonstrate how competing systems of cultural value characterize the field of youth-specific theatre in Australia.

Segmentation of spoken words into syllables by English-speaking children as compared to adults

Given the importance of syllables in the development of reading, spelling, and phonological awareness, information is needed about how children syllabify spoken words. To what extent is syllabification affected by knowledge of spelling, to what extent by phonology, and which phonological factors are influential? In Experiment 1, six- and seven-year-old children did not show effects of spelling on oral syllabification, performing similarly on words such as habit and rabbit. Spelling influenced the syllabification of older children and adults, with the results suggesting that knowledge of spelling must be well entrenched before it begins to affect oral syllabification. Experiment 2 revealed influences of phonological factors on syllabification that were similar across age groups. Young children, like older children and adults, showed differences between words with short and long vowels (e.g., lemon vs. demon) and words with sonorant and obstruent intervocalic consonants (e.g., melon vs. wagon). (C) 2002 Elsevier Science (USA). All rights reserved.

Amphitheater staging: In-the-round or to the front (and what about asides)?

When the existence in Utrecht of the DeWitt/Van Buchel drawing of the Swan Theater became known in 1888, William Poel was already seven years into his inquiries into the best means of staging the public amphitheater and great hall plays of the English Renaissance.1 I mention this to emphasize that the discourse came before the fact: the belief that Shakespeare's plays are best staged as it was then imprecisely imagined they had once been staged-simply, without elaborate settings or time-consuming scene changes, with direct actor-audience address, "in-the-round"-had as much to do with reactions against the late nineteenth-century stage's pictorialism, with its set-changing interruptions and cut-and-paste revisions to Shakespeare's texts, as it had to do with presenting the Bard "authentically." Some of the confusion caused by the uneasy mixing of historical scholarship and the assumptions and practices of our own contemporary theater profession can be glimpsed in the phenomenon of modern in-the-round staging, often claimed as a more "authentic" approach to Shakespeare in performance, but one which is then modified to make possible post-Stanislavsky acting methods and to satisfy modern audience expectations.